“I went down there and saw all these little paintings of landscapes, houses, little beautiful scenes. The light on that picture is from reflections of cars going underneath the freeway.
“Everything about the city made me uncomfortable and raised questions: the landscape, the atmosphere, the situation, the agitation, etc. It seemed so imperfect. I wanted to understand this chaos.” To
“Every snapshot is an unexpected and sometimes inconvenient encounter with fate”
“No, Anthony Hernandez’ sober look at his hometown reminds us that Los Angeles is not the most photographed city in the world, but rather, one of the most culturally, economically
"These poor cities are nevertheless radiating vivid colours, as if bolstering up daily lives with significant visual appeal. I see their desperation to live, to the point of feeling pains.
“Takashi Homma is indebted to Robert Frank. This much is clear. He is as sick of goodbyes as are the best of the Swiss and as are the best of
"He plays with the disruption in the aesthetic surfaces of our daily life and this allows him (and us) to experience a reality which might be bypassed."
Under the El at the Bowery, New York, c. 1950 By Berenice Abbott, excerpts from Universal Photo Almanac, 1951 The world today has been conditioned, overwhelmingly, to visualize. The picture
“America was supposed to be a country of big buildings, of ever-growing construction of roads, and stuff. And it is; and it is. But in addition to that, there is
Vergara shows exactly what has happened to these neighborhoods. By essentially dumping the new shelters and apartment buildings in devastated, minority neighborhoods on the outskirts of Brooklyn, the Bronx, Queens,
St. Rest M.B. Church, 3056-3058 West Polk St., Chicago By Camilo Jose Vergara An excerpt from Camilo Jose Vergara’s postscript to HOW THE OTHER HALF WORSHIPS (Rutgers University Press, 2005):